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THE ART 



OF 




BY 



MRS. A : M . H Y 




£131? 



Entered according to Act of Congress, in the year 1873, by Janentzky a Co., in the office of 
Librarian of Congress, at Washington, D. C. 



PUBLISHED BY ^ 

JANENTZKY & CO., 1125 CHESTNUT STREET, 
PHILADELPHIA. 






V5i 



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3 



THE ART OF 



Making Wax Leaves, 



Of all the various artistic uses to which sheet 
wax is applied, perhaps none is more effective 
or more closely imitative of nature than the 
manufacture of leaves. Autumnal tints in all 
their gorgeous variety and blended hues, green 
ferns and white veined ivy, and — most striking 
of all — the rare foliaged exotics seen in hot- 
house collections, — Colladiums, Bigonias, Coleus, 
Cissus discolor, and many others. We do not 
now allude to the many miserable specimens 
seen in shop windows and arranged in vases 
upon mantel shelves, to be admired only by the 
makers themselves or by those who have never 
seen the natural leaves of which they are sup- 
posed to be copies. Such efforts as these do not 
deserve the name, and would disgust the taste- 



4 THE ART OF 

ful amateur, and deter him from attempting the 
art. The simple directions we are about to 
give will enable any one to produce specimens of 
quite another type, which will amply reward 
the small outlay of time and capital required 
for their manufacture. 

For Autumn leaves, use white wax for all 
variegated or red ones, but yellow wax will be 
best for the yellow tinted varieties. Use pat- 
terns taken from natural leaves, and with a 
pair of small scissors cut them neatly out of 
the wax, using for the purpose two sheets 
pressed firmly together. Some persons cut the 
sheets separately and press them together after- 
wards, but this is double trouble, as they can 
just as well be cut at once, and the stem — a 
wire covered with wax — can be easily inserted 
between the two thicknesses, letting it extend 
along the centre almost to the point of the leaf, 
like the mid-rib of a natural leaf. If maple 
leaves are to be made, they can be moulded 
around the edges by pressing them firmly with 
the ball of the moulding pin, the edge of the 
leaf being held over the forefinger of the left 
hand. Then, holding the leaf in the palm of 



MAKING WAX LEAVES. 

jour left hand, begin to mould it from the 
central stem outwards, until the two sheets of 
wax are completely incorporated together. 

Next; wet the right side of the leaf — the 
side that has been held next the palm, and 
press it down firmly upon the natural leaf, 
which will thus impart the proper impressions 
of veins, and also the natural bend of the 
leaf itself. 

Next comes the coloring, which is no unim- 
portant matter, and will need some practice 
before producing the right effect. Perhaps it 
will be best for a beginner to try blending the 
tints first upon a piece of waste wax. Kub a 
small portion of the carmine upon a portion of 
it and shade it on the edges with black or 
brown, until the easy art is acquired. 

Some of the prettiest of the maples are of 
three distinct colors, yellow, red and green. 
One point will be of the clearest crimson, 
deepening in places into a purplish brown ; 
another will be yellow, shaded into orange and 
brown, and in another portion will be seen the 
natural green, perhaps spotted and marked by 
insects, but blending and changing very gradu- 



6 THE ART OF 

ally into the other colors. In the imitation of 
this easy blending of shades consists the chief 
art of the coloring. 

Take powder colors, prepared for wax work, 
— chrome green, chrome yellow, carmine, and a 
little vandyke brown. The green will need a 
little of the yellow added to make it of the 
natural tint. With one of the middle fingers, 
rub on the green powder on both sides of a 
portion of the leaf, working it well into the 
veins and edges. Next rub pine yellow into 
another part, and then upon a third the car- 
mine ; then let the parts where the colors meet 
be shaded together, adding enough brown or 
ivory black to darken and shade it wherever it 
is desirable. 

In the same way may be colored any of the 
autumn tinted leaves, nature furnishing enough 
brilliant specimens from which to copy. If any 
of the more sombre or russet tinted leaves are 
wanted to mix in the gay group, they may be 
colored with raw sienna, brightened, perhaps, 
by adding a little touch of burnt sienna to the 
edges. 

Other leaves, however, will require different 



MAKING WAX LEAVES. / 

treatment. Coleus leaves should be made of 
light green wax, and moulded upon regular 
moulds, either of plaster or metal, to be had of 
various sizes at the places where other materials 
for wax work are sold. 

When made and moulded, the color, com- 
posed of carmine and vandyke brown well 
mixed, is rubbed upon the central portion, and 
may be made to imitate nature very closely, 
especially when the edges are left clear and 
green. Or if green wax is not at hand, white 
will answer very well by merely rubbing light 
green paint on to the edges before putting 
on the color for the centre. The less it is 
rubbed the more velvety will be the appearance 
of the leaf. Leaves of the Virginia creeper, 
and sumac are of a very brilliant red color; 
sweet gum, blackberry, sassafras, etc., are of 
variegated hues. 

The exotic foliaged plants, which have been 
but lately introduced into our gardens and hot 
houses, are capable of the closest imitation, but 
are colored in a different manner. Oil colors in 
tubes are used for them, and also dry zinc white, 
where a peculiar kind of white is desired. For 



8 THE ART OF 

Calladiuras, of which there are quite a variety, a 
different method of moulding must be observed. 
For the dark green species use wax of the 
natural shades; cut them out of three thick- 
nesses of what is called single wax, or two of 
the double, always proceeding, if possible, with 
a natural leaf as the model. Mould the wax 
leaf with three or five wires instead of one ; let 
one mark the centre, and two others curve from 
the two barbed points of the arrow-shaped leaf, 
the remaining two starting from points nearer 
the apex and uniting with the central wire, 
forming one stem at the base of the leaf. (See 
illustration) . 

A plaster mould will afford both a pattern of 
form and a means of giving it shape and round- 
ness. Of the green Calladiums some are marked 
with red or pinkish blotches, which can be 
given with sable brushes, using crimson lake 
with a little white to give it body; for white 
marks use the silver or cremnitz white, and for 
lighter green, add chrome green toned to the 
proper shade by adding white or chrome yellow, 
or perhaps some of both. 

For all veined leaves use a very finely pointed 



MAKING WAX LEAVES. » 

sable pencil and cremnitz white, tracing them 
firmly but lightly along the lines indicated by 
the mould. 

For the white Galladium or rather the light 
green and white variety, use white wax, rend- 
ered still whiter by rubbing with zinc white in 
powder. These leaves are curiously marked 
and mottled with green, and this mottling is 
given by applying to the edges, and different 
portions of the leaf, touches of green paint 
mixed to the proper tint. After it has been 
applied in a rough and seemingly careless man- 
ner, take a badger blender and pass it back and 
forth across, and up and down the leaf, until 
the proper blending mottling is attained. 

The leaves of the Cissus discolor are very 
curiously spotted with light green beads upon a 
ground of dark green and purplish crimson. 
Mould the leaves as usual upon moulds made of 
different sizes, and commence by painting the 
leaves with crimson lake; this will give the 
veins the peculiar purplish tint seen in these 
leaves. When dry, the spots are to be given 
with naples yellow paint, slightly tinted with 
green, imitating nature in the shape and size of 
the spots. 



10 THE ART OF 

Another plant, very well worth copying in 
wax, is the Achyranthus with its crimson and 
dark brown leaves, looking so brilliant in the 
sunlight. Plaster moulds in various sizes and 
shapes are needed for these peculiar looking 
leaves. Some of the leaves are only half open, 
others drawn down in the centre, whilst others 
will be fully expanded, and the full variety is 
necessary to the perfect representation. A wire 
through the centre, as with ordinary leaves, will 
be sufficient for any of them, and it can be bent 
to suit the shape of the mould. Use white wax, 
and after all are moulded begin by painting 
them entirely on both sides and the stem with 
crimson lake, putting them carefully by to dry. 
If the color is not as deep as in the natural 
leaves, give a second coat, which will produce a 
fine clear crimson or blood color. When this is 
dry enough mark the lines or stripes with van- 
dyke brown, and leave them to dry. 

For the leaves of Begonias, use white wax of 
three thicknesses, mould and paint the edges 
with dull green made by mixing chrome green, 
naples yellow and a little vandyke brown ; then 
paint the centre of a lighter shade, produced by 



MAKING WAX FLOWERS. 11 

adding white to the same. The under side of 
the leaf must be washed with crimson lake, with 
a slight addition of vandyke brown to give 
it body. 

In addition to the above-named varieties, there 
are many other curiously marked leaves which 
may be colored in oils, but the above directions 
will afford sufficient guide to them, and by 
closely imitating the natural leaves themselves, 
learners will readily acquire the art. 



MATERIALS FOR ALL 

fe* .glower and ^mff Hffork, 

MOULDS, PAINTS, TOOLS, &c, 

May be procured of the Dealer where this 
Book was bought. 

For Specified List of Materials see nest page. 



SHEET WAX— Best Quality i n the Market.— White, Green, Yellow, Blue, 
Pink, Purple, Buff— for Tea Rose, Browns — for autumn leaves, Orange, Varie- 
gated—plain, Scarlet, Crimson, White— double, Variegated— with Carmine. 

EXTRA LARGE WAX— For Pond Lilies, in Packages of 6 Sheets.— White, 
Green, assorted. 

WHLTE CAKE WAX— Warranted Pure.— The celebrated "Star Brand." 

EXTRA FLNE DRY COLORS— In small glass bottles, prepared expressly 
for this work and for Initial Stamping. — White, Burnt Sienna. Burnt Umber, Raw 
Umber, Raw Sienna, Chrome Yellow — Nos 1, 2, Chrome Orange, Light Blue, 
Prussian Blue, Green— light, medium, dark, Yellow Ochre, Indian Red, Light 
Red, Lamp Black, Down— in different tints, Rose, Deep Rose, Purple, Solferino, 
Bloom. Magenta. Vermillion. Frosting — white and colored, Lemon Yellow, Pure 
Scarlet, Cobalt, Carmine— small and large size vials, Violet Carmine. Fine Dry 
Colors, fitted in boxes, an assortment of 28 different Colors, complete for use. 

GILT LEAF MOULDS— Violet, Nos. 1,2, 3. Camelia. 4, 5. Fuchsia, 6, 7, 8. 
Fish Geranium, 9, 17, 18. Ivy, 10, 11, 35. Rose, 12, 13, 14. 22, 34 68. 69. Lily of 
Valley, 15, 16. Verbena, 19, 20, 21. Orange, 23. 24. Heliotrope, 25, 26, 27. Arbu- 
tilon, 28, 29. Pansey, 30, 31. Rose Geranium. 32. 33. Pond Lily. 36. 37. Maple, 
38,39,40,41. Oak, 42, 43, 44. Dog Wood, 45, 46 Chestnut, 47, 48. Sassafras, 49, 
49)4, 50. Blackbery, 51, 52, 53. Elm, 54, 55. Sumac, 56, 57. Wild Cherry, 59, 58, 
58J/ 2 - Grape, 60, 61. Currant, 62, 63. Jessamine, 64, 65. Willow, 66, 67. But- 
terfly, 71, 72, 73. Myrtle, 74, 75, 76. Cape Jessamine, Salvia, Honey Suckle, 
Laurustinus,*Azalia, Lilac, Strawberry, Pyrus Japonica, Clemestine, Woodbine, 
Passion Flower. 

GILT FLOWER CUTTERS— Extra Fine of 1 piece each.— Verbena, 77, 
78, 79. Heliotrope and Forget Me Not, 80, 81. 

TIN FLOWER CUTTERS— Dahlia. 7 pieces, No. 1. Camelia, 6 pieces, 2. 
Rose, 8 pieces. 3. Fuchsia, 2 pieces, 4. Geranium, 3 pieces, 6. Lily of Valley, 7. 
Violet, 2 pieces, 10. Wisteria, 3 pieces, 13. Pyrus Japonica. 2 pieces, 14. Honey- 
suckle, 15. Pink, 4 pieces. 16. Pansey, 4 pieces, 17. Geranium, 18. Jessamine, 19. 
Orange, 20. Pond Lily, 8 pieces, 21. Tube Rose, 4 pieces, 22. Sweet Alysium, 23. 
Moss Rose Calyx, 24. Clemestine or small Jessamine, 25. Star Flower, 26. 
Quaker Lady, 27. Azalia, Nos. 31, 32, 33. Easter Lily, 34, Narcissus, 35. 

SUNDRIES— Carmine Saucers. Green Moss, in Envelopes, in fine sprigs. 
Staminas, a great variety. Wooden Crosses, painted white, 6, 7, 8%, 9%. 10%, 
12, 14, 16 and 18 inches high. Rustic Crosses, neatly made, of different sizes. 
Cross, Heart and Anchor, nicely arranged to represent Faith, Hope and Charity. 
Harps. Lyres. Anchors. Megilp for dissolving Powder Colors. Glossing for 
Wax Work. Poonah Brushes. Poonah Badger Brushes. Camels' Hair Quill 
Brushes. Camels' Hair Pencils in tin. Red Sable Hair Pencils. Arrow Root, 
pure Bermuda and Taylor's. China Saucers and Slants for mixing Colors. 
Glass Balls for Currants and Grapes. 

WOODEN MOULDING TOOLS and STEEL CURLING PINS. 

12 



THE ART 



OF 




■9 



r w 



BY 



MRS, A. M. HYDE 



Entered according to Act of Congress, in the year 1873, by Janextzky * Co., in the office of 
Librarian of Congress, at Washington, D. C. 



PUBLISHED BY 

JANENTZKY & CO., 1125 CHESTNUT STREET, 
PHILADELPHIA. 



TOOLS, 



A LARGE VARIETY OF DESIGNS 



FRET CUTTING, 



Always on Hand. 
SCHEIFFELE SHEET WAX. 

IW~ Recognized as the Only Reliable Sheet Wax for making Wax Flowers. 

The Proprietor would inform buyers, that in consequence of an inferior article 
being offered for sale, and the sellers representing the same to be of the Scheiffele 
Manufacture, it has become necessary to thus advise them, and further mention 
that henceforth this Sheet Wax, in addition to being put up in the usual way, of 
12 sheets to a Package, will exhibit on the Wrapper of each, an Imprint, as follows: 

SCHEIFFELE SHEET WAX. 

None Genuine unless having on the Wrapper the following 

TRADE MARK: 



W@. &4Mstd'rie-£d/ 



Successor, 



Entered according to Act of Congress, in the year 1873, by G. H. Smithers. 
in the Office of the Librarian of Congress, at Washington, D. C. 

All Counterfeits of this TRADE MARK, or improper use of the same, 
will be held to legal accountability. 



WORKS ON ART 



EACH. 

AUDSLEY, Illuminating, $1 50 

ALLEN", Young Mechanics' Instructor, or Workmans' Guide, 1 15 

BACON, Theory of Colors, 1 50 

BAIGENT, Heraldic Illuminating, 3 00 

BARNARD, Foreground Studies, 10 00 

BARNARD, Water Color Painting, 8 00 

BOUTELL, Heraldry Historical and Popular, Illustrated, 9 00 

BURNETT, Portrait Painting in Oil Colors, 7 50 

BARBER, Painters, Grainers, and Writers' Assistant, 90 

CHAPMAN, American Drawing Book, 6 00 

CHASE'S Landscape Painting, 1 50 

CHEVREUIL, on Colors, colored plates, 3 00 

DELAMOTTE, Primer of Illumination, 4 00 

FAU'S ANATOMY, with Atlas, plain, $13 50, colored, 22 50 

FIELDING, Mixed tints and their uses, 1 25 

GREEN, Perspective, 6 00 

HARDING, Early Drawing Book, 5 00 

" " New Drawing Book, 10 00 

" Lesions on Trees, and on Art, 7 50 

" Guide and Companion, 6 00 

" Elementary Art, 12 50 

HARRISON, Suggestions for Illuminators, 5 00 

MINTORN, Wax Flower Modelling, 1 50 

PEPPER, Art of Making Wax Flowers, 75 

RINTOUL, Painting Photograph Portraits, 1 25 

REINELL, Carpenters, Joiners, and Gilders' Companion, 67 

REINELL, Masons, Bricklayers, Plasterers & Slaters' Assistant 67 

TILTON, Wax Flowers and how to make 2 00 

" Art Recreation, 3 00 

' ; Skeleton Leaves, 2 00 

THOMAS, Mural Decoration, 7 50 

WALL, Photograph Painting, 3 50 

WALKER, Lessons on Animals and Figures. 3 75 



Hand-Books on Art. 



Per Copy J+5 cts. Postage paid 50 cts. 



Landscape Painting, in Oil Colors. 
Portrait Painting in Oil Colors. 
Marine Painting in Oil Colors. 

Guide to Oil Painting, Part I. and II. [Oil Paintings. 

On the materials used in painting, cleaning and restoring 
Landscape Painting in Water Colors. 
Portrait Painting in Water Colors. 
System of Water Color Painting. 
Art of Miniature Painting. 

Sketching in Water Colors from Nature. 
Guide to Water Color Painting. 
Guide to Miniature Painting. 

Sketching Trees from X ture in Water Colors. 
A manual of Illumination. 
A companion to Guide of Illumination. 
Marine Painting in Water Colors. 

Principles of Coloring in Painting. 
Art of Flower Painting. 

Guide to Flower Painting. 
Art of mural decoration. 

How to Sketch from Nature. 
What to Sketcli with. 

Hand-book of Alphabets. 

Hand-book of Initial Letters. 

Alphabet and Designs of different periods. 
Animal Drawing, by Gullick. 
Animal Drawing, by Weigall. 

Artistic Anatomy of the Hois.' 
Artistic Anatomy of the Human Figure." 
Transparency Painting on Linen. 
Transparency Painting on Glass. 
Art of Sketching from Nature. 
Elements of Perspective. 

Principles of Form in Ornamental Art. 
Drawing Models and their use- 
Painting and Drawing in Colored Crayons. 
Guide to Light and Shade 1 'rawing. 

Guide to Pencil and Chalk Drawing. 
Guide to Pictorial Art. 

Guide to Levelling and Survey in;,'. 
Guide to Pictorial Perspective. 

The Art of Figure Drawing, by Weigall 
to Figure Drawing, by Hicks. 
Guide to Painting on Glass. 

Pamire Perspective. 

Art of Wood Engraving. 

Painting on Glass for Magic Lantern. 

Water Color Painting and Sketching from Nature. 
Figure Painting in Water Colors, by Whiteford. 
Miniature' Painting in Oil and Water ( olors 



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